What Do Mirrors Reflect? Interview With Shirin Abedinirad

by Alexandra Mansilla

What Do Mirrors Reflect? Interview With Shirin Abedinirad

13 Mar 2024

You have likely heard of Shirin Abedinirad, the Iranian artist known for her captivating installations featuring mirrors placed in diverse settings — in a desert, on the stairs, or near the bay.

In her piece "Evocation" (Central desert, Iran), she embeds round mirrors within desert sands, drawing attention to the pressing issue of water scarcity. The mirrors in the deserts resemble spots of water.

"Evocation" (2013) by Shirin Abedinirad. Source: www.shirinabedinirad.com

In "Heaven in Earth" (Treviso, Italy), Shirin offers viewers a fresh perspective on themselves and the world around them. Covering true cement stairs with mirrored stairs, the installation invites reflection on the relationship between humanity and nature, history and the modern world. Inspired by the pyramidal structure of the Ziggurat, a common form of temple in ancient Mesopotamia, her "Mirrored Ziggurat" (Sydney, Australia) serves as a bridge between past and present, offering a transformative view of the self.

"Heaven on Earth" (2014) by Shirin Abedinirad. Source: www.shirinabedinirad.com

The interactive "Babel Tower" (Tehran, Iran), with its seven movable blocks, recontextualises the architecture of the Babel Tower using modern materials. Symbolising the connection between past civilisations and our contemporary society, it fosters dialogue between urban landscapes and the natural world.

Shirin's artwork is brimming with symbolism. But how did it all begin? How does she craft her mirrored installations from a technical standpoint? And what insights does she gain from her reflections? We asked Shirin these questions and even learned an amusing story involving mischievous monkeys who once made off with her pencils.

— You were born in Iran. How was your childhood?

— I was born in Tabriz, a mountainous city in Iran. When I was two, we moved to Tehran with my family. I vividly remember the long journeys during holidays to visit family in Tabriz. The route was filled with barren lands, dry landscapes, and earthen hills, which I didn't appreciate as a child. Back then, nature to me meant green landscapes, but now I find those scenes enchanting.

— When did you move to the US?

— I moved to the US right after the pandemic in 2021.

— Why?

— One of my life goals is to teach at a university level, and pursuing an MFA was a step toward that dream. I completed my graduate studies at Michigan State University and am now preparing to embark on a teaching career.

— Please tell us about your trip to India. How did it happen?

— I participated in the Sowing Seed residency in Jodhpur, a small village, while studying fashion design. There, I met amazing artists from around the world, working with various mediums. I was the youngest there and learned immensely, creating my first conceptual piece during this residency. It was influential because it helped me understand conceptual art, which I previously found perplexing. The residency allowed for deep conversations with artists and inspired me to interact with local children despite our language barrier.

— Could you describe the local children, please? Were they interested in what you do?

— The local children were curious and eager to interact. They taught me how to knit flowers with yarn and often brought me small gifts. They also adorned my hands and feet with Henna and collaborated with me on a project where we painted traditional Indian Henna patterns on fabric purchased from the village market.

Instagram: @shirin.abedinirad

— Fun fact: during your trip to India, you worked in a room with a window, outside of which there were many monkeys that would steal your pencils!

— That incident made me realise that nature, by taking away my tools, led me to explore ideas and concepts over mere painting. Since then, I have occasionally used coloured pencils just to add some colour to my sketches. I am grateful to those monkeys!

— So, how did it all start with mirrors?

— My first mirror was the camera, capturing my image in video performances. I explored themes around my identity, reflecting my own image to my audience through the lens.

— How do you choose locations for your installations?

— I find inspiration by walking in nature or directly at the venue.

— Do you bring your installations fully prepared to their designated locations, or do you assemble them on-site? Who helps you un assembling them?

— It varies with the project's scale. Usually, I prepare ahead and then adapt on-site for a better view or specific effect. At festivals, biennales, and exhibitions, assistants help me. I often work alone for land arts in nature, sometimes with a friend or my father's help.

— What does your father do?

— My father is a retired bank manager. My parents have been incredibly supportive of my art from a young age. They nurtured my creativity as a child by providing art supplies and entering my work into international competitions. They would also take me to local contests in Tehran's parks, museums, and film festivals. My mother has always given me encouraging and sincere feedback. At the same time, my father enriched my learning with various books and VHS tutorial videos, considering that YouTube wasn't around during my teenage years. They emphasised my education but never pressured me. I have experienced being both at the top of my class and, at times, less concerned with academic studies, yet I have never faced any negative feedback from them about my choices.

— What is the typical lifespan of your mirror installations, considering the fragile nature of mirrors?

— While mirrors can break and be replaced, I prefer mirror polish stainless steel for permanent installations.

"Mirrored Ziggurat" (2015) by Shirin Abedinirad. Source: www.shirinabedinirad.com

— What challenges do you encounter when working with mirrors? Do you have any experiences where you faced challenges working with the surface (stone, sand, or ground) for your installations?

— I don't cut the mirrors myself for land arts. I create smaller dimensions for easier transport.

— The Babel Tower installation is a collaboration between Gugo Torelli and you. How did it happen?

— I met Gugo in Italy at a residency in the Ethnographic Museum of Pasts and Futures in Castrignano de' Greci. Later, he assisted with designing my installation structures, which led to our collaboration on the Babel Tower interactive installation.

— Each part in the Babel Tower can rotate individually because of the embedded sensors. Why did you decide to do it this way?

— I aimed to manipulate nature, changing its appearance. Mirrors empowered me to move mountains metaphorically.

— Was there a story behind any of your works where you broke a lot of mirrors?

— After creating my land art and not moving the mirrors back, they shattered in a car accident I had days later. The police noted the potential danger if the accident had been more severe.

— The quality of mirrors can vary. How do you select them for your installations?

— I research companies to ensure the quality of their products.

— Maybe you could name these companies you work with?

— Honestly, I have collaborated with various companies but haven't maintained a long-term partnership with any particular one, as my projects span across different countries.

"Babel Tower" (2015) by Shirin Abedinirad. Source: www.shirinabedinirad.com

— Which of your works required the longest time to create?

— "Babel Tower", definitely.

— How much time did it take? What were the main difficulties?

— The project took three months to complete. The most challenging aspect was solving the mechanical problems that arose during that time.

— Which of them was the most expensive to create?

— "Babel Tower", too.

— In the description of your work "Heaven on Earth," you mention Islamic art, where symmetry is considered the highest form of beauty. Do you totally agree that symmetry is the highest form of beauty?

— I believe beauty manifests in various forms, and symmetry is just one expression. The beauty of Islamic patterns is in their context, intention, and deeper meanings, not just their symmetry.

— How can you explain what significance mirrors have in Islamic culture?

— Mirrors hold profound significance in Islamic culture as symbols and instruments that reflect both physical light and metaphorical insights. They are often used in Islamic architecture and design, not just for decoration but also to illuminate spaces, creating a play of light that reminds one of the divine nature of light in Islam. Mirrors symbolise clarity and reflection, both in a literal sense and in the pursuit of self-knowledge and understanding. By bringing light into spaces, they serve as a metaphor for enlightenment and the human endeavour to pursue truth and spiritual wisdom.

— Several artists, like Michaelangelo Pistoletto (Quadri specchianti), Yayoi Kusama (Infinity Rooms), Anish Kapoor (Cloud Gate), Alyson Shotz (Mirror Fence), and others have worked extensively with mirrors. Who do you admire the most, and why?

— I admire Monir Farmanfarmayan for creating beautiful mirror pieces.

— Which of her artworks do you like the most?

— I don't have one favourite piece in mind. I admire all her works, which beautifully combine mirror mosaics with Islamic geometric designs and contemporary sculpture.

— How did your work with Sanji Gallery start?

— I have been collaborating with curators Micaela Giovannotti and Juli Cho Bailer for two years, who introduced me to the gallery.

— On Art Dubai this year, you will present the work "Reflective Journey". Why this work?

— I am presenting my first Virtual Reality Land Art, which I believe is the ideal platform for this piece.

— These doors were salvaged from the aftermath of the February 2023 earthquake in Adiyaman, Turkey. Did you find them yourself? Could you tell us more about how this work was created?

— The doors were indeed reclaimed from the aftermath of the February 2023 earthquake in Adiyaman, Turkey. The project "Reflective Journey" encompasses a triptych that includes a land art installation, an indoor installation, and Virtual Reality Land Art. While I did not personally collect the doors, my team, following the instructions I had provided, constructed the piece in Adiyaman and sourced the doors from a local market.

— So, these doors belonged to someone before, right? Do you know the story behind them?

— I am unaware of the doors' previous ownership. The main idea was to repurpose what the earthquake had damaged, integrating it with the natural beauty of the surroundings to create something new.

"Reflective Journey" (2023) by Shirin Abedinirad. Source: www.shirinabedinirad.com

— A bit philosophical question: does a mirror show us the truth?

— Mirrors, as metaphors for truth and self-perception, show a physical truth but only a part of our whole truth, always interpreted through our experiences.

— And one more: What do you see when you look in the mirror?

— I see the smile in my eyes.

— How did it happen that you played a role in the Critical Zone (Mantagheye bohrani) movie?

— Babak Karimi, a renowned Iranian actor, introduced me to the director because he knew I perform.

— How did you celebrate the Golden Leopard award?

— I couldn't be there, but I vividly remember receiving a text message from Ali exclaiming that we had won!

— What is your role in the movie? Could you please describe your character?

— In the movie, I portray a waitress who doubles as a drug dealer, interacting with the main character, Amir. The film includes surreal moments leading to a renowned screaming scene, which was filmed at Imam Khomeini Airport in Tehran.

— During your scholarship with United Colours of Benetton's Fabrica research centre, you wrote a book, Conceptual Art & Fashion in the 21st Century. How big is it? And why have you chosen Yayoi Kusama for the cover?

— It is approximately 50,000 words and 216 pages, published in its 6th Edition with color images by Nazar Art Publication. Yayoi Kusama's Louis Vuitton collection is featured in the book, which influenced the publisher's decision to use it for the cover.

— Your video dedicated to the 67th Anniversary of the Hiroshima & Nagasaki a-bomb attack is very powerful. Why did you decide to do this work? What did you use to do it?

— I was experimenting with pouring black ink into water to see if it would turn the bowl completely black. Accidentally, the image of an atomic bomb appeared before my eyes, and I captured this by recreating the scene. It felt like the soul of the work presented me with the idea for this video art.

— What are you working on now?

— I am delving deeper into VR/AR projects and developing new ideas for my upcoming shows. The nearest one will be my solo exhibition in NYC at KATES-FERRI PROJECTS.

— When will it happen? What will it be about? Please give us some details!

— The opening is scheduled for April 19th. It will be an artist residency culminating in my solo exhibition. I will be featuring a live performance as part of my exhibition.

by Alexandra Mansilla